I work with different media and formats, incorporating elements of sculpture, installation,

photography, painting and performance.

Working with a range of materials including plaster, steel, wood, plastic and fabric, I
engage with ideas that relate to semiotics of space and spatial relations. Size, distance
and order are some of the components I employ to reconstruct and deconstruct the
space in relation to things in and around it.

In particular I explore the functioning, identity and the language of materials and objects,
at times in site specific, isolating or isolated spatial arrangements. The surfaces of made
objects or materials often remain raw and/or reflective. Focusing on spatial and visual
memory, I investigate the connecting fragments between space, spatial context of the
material/object, and the individual and collective understanding of them.

In my work I aim to enforce the sometimes not so immediately visible relations between
the organisation of space, the elements of power and control, meaning, and our perception
of it. By delocalising object/ material identity, hence the perceived codes of meaning, I
attempt to reinforce, replace, or reverse these relations, changing assumed perceptions
to form new communications and representations. With this, I invite the viewer to
reconsider these relations through their potentially diverse cultural sensors, and perhaps
re-establish their own relation to them.

I consider the properties and energy of the maker and the viewer, the materials used and
the spatial setting in which they will be displayed as crucial to the process of my practice.
Establishing a strong physical connection with the work is an important part of what I do.

As Elliot Gaines puts it, The frontiers of space begin with the body of an individual
subject.

ARZU ALTIN
Goldsmiths, University of London, 2015
arzualtin@live.com
 LEENA CHAUHAN
Central Saint Martins, UAL 2013
leenachauhan.org
leenachauhan@gmx.com
Thematically my practice is concerned with ideas surrounding work and time. I explore these
universal ideas and encounters through my own personal experiences, utilising primarily
photography and handcrafts as mediums, alongside drawing, printmaking and book arts, to explore
self-portraiture and ideas around labour, specifically in relation to women.

My practice critiques both the distinction and overlap between work and leisure, and how they
influence and create identity. In particular I am concerned with how clothing is a signifier of
identity and how the formal suit and office attire symbolises the regulated regime of corporate
culture and capitalism. I am aware of my place within the capitalist regime and play with the
placement of myself directly in the work, whether through photographing personal objects, self-
portraiture, and in a more conceptual manner by incorporating myself as a limited company.

I utilise the grid as a way of presenting multiple images as a collection in its role of being analogous
with completeness, and in the format of a cumulative framework to order and contain aspects
of reality, separate events and points of origin, with the intention that the work is read in an
informational way that reflects the autobiographical subject matter and the punctum effect. I aim
to combine two Modernist photographic orders in my formal arrangement of my photographic
work within a grid; the traditionally crafted single image and the concept of the serial image.
Through juxtaposing separate but associated images it is my intention to provide not only a
nexus but also a new way of seeing and a better understanding through looking, as each individual
image is compared to those around it.

I am interested in differing modes of presentation within my practice. For example, I photograph

personal items in line with the concept of materialistic historiography, show both sides of
handcrafted pieces to
reference phenomenology of perception, playing with the concept of parataxis to explore chaotic
chance both within the regimented subject matter and also my systematic practice.

JENNIFER FARROW MOORE

Central Saint Martins, UAL, 2014
(Pratt Institute, New York, 2013)
jenniferfarrowmoore.com
jenniferfarrowmoore@hotmail.com
Outside its cold, probably at a temperature where you have to wear a coat, jumper and an under garment
to stay warm.
Its raining a little bit as well, and slightly windy.
Where you are, is the street.

Just a regular street- not Carnaby Street, not Broadway, and not Champs-Elysees;
The street your on is something more like Drakefield Av, or Walker Rd, or Highfield Av.

There are similarities between these places; their made of similar materials, they have windows, and
people walk on them.
Although there are some differences in the locations of these streets, for example Broadway is full of
shiny lights, theaters, birthplace to stars, and is in the heart of New York City... Walker Rd on the other
hand is a street where there are approximately 15 streetlights, entertainment circling from satellite
dishes/Freeview boxes/BT TV, and is in the suburbs of Leicestershire.

From this location if you walk westwards for approximately 2 hours, you will come to an area called
Bradgate Park, once here you can climb up the hill and look back on your journey:

It is in this skyline of pitched roofs with terracotta roof tiles, unused TV antennas attached to disused
chimneys, and green hills separating towns- this is known as suburbia.

Its in the boundaries of suburbia that I find the characters for my narratives.
These characters arent people, the characters are the objects that build up the place: the fence panels,
the chimneys, the guttering, old satellite dishes, and those patches of grass outside the 3-bedroom semi-
detached houses.

These things dont normally get a chance to have a stage, they quietly exist.

My role is to let them have a chance, to let them be the symbols of aspiration, hope, and achievement in
the bedrooms and the living rooms of homes-no longer posters of Broadway and Champs Elysees.

I am not trying to ridicule, or mock suburbia.

All I am doing is showing it again, with gestures of comedy.

JOHN WILLIAM FLETCHER

Goldsmiths, University of London, 2013
johnwilliamfletcher.co.uk
john2122@live.co.uk
Im a writer, self-publisher and artist. I create publishing projects from the ground up,
that try to help people imagine different places, structures and ways of living.

Ive produced fanzines about cities; run heroic-but-doomed campaigns to reuse a pair
of abandoned cooling towers as spaces for public art; and set up dream tourist boards.
Im currently working on a DIY guide to surviving and thriving in the bitter, barren
world were creating for ourselves and our children.

My current work revolves around the future, and climate change, with a particular focus
on the weird state of limbo were in, in which we know climate change is coming, yet
dont seem that bothered about doing anything about it. Im interested in exploring the
ambiguity of that future vision too: whether climate change represents a disaster or an
opportunity to live simpler lives. Whether its a nightmare or a dream.

My work has been featured across the national media, in the Guardian, the Observer
and on BBC Radio 4; and my fanzine, Go, is part of the permanent collection of the
V&A. Ive recently been awarded a major commission, in collaboration with the artist
Alex Hartley, to create a new, future-themed folly in the grounds of Compton Verney,
Warwickshire.

TOM JAMES
University of Sheffield, 2003
tom-james.info
tom@tom-james.info
My current practice examines the superficial as a site for invention. Drawing upon
inorganic structures found in Black Metal logos, B-Movie blood splatters and computer
simulations my paintings appear synthetic and terrain-like. These monochromatic works
present meshes of fluid strokes as a result of rhythmic bodily gestures. I utilise blurring
as a repetitive action across glassy surfaces to destabilise the painted image. As a
consequence of these directed actions my works toy with a sense of surface immediacy
and conventions of illusionary space. Transparent pigments allow the wet-sanded gesso
surfaces to shine through them like a backlit screen.

My paintings are records of orchestrated and laboured movements undertaken at varying

speeds that act like passages to something or somewhere: constant screen wipes in flux.
Particularly informed by the use of tracking shots in Peter Greenaways enticingly carnal
The Cook, The Thief, His Wife and Her Lover (1989) in some works I manipulate the paint
continuously, constrained only by the duration of the acrylic paint: the dragging action
leaves more complex details as the paint dries until the brush can no longer affect it. In
other paintings gestural marks are unedited and left in high-definition.Whilst atmospheric
lighting, set design and other theatrical conventions influence my decision-making there
is anti-romanticism here and a heavy emphasis on the hand made or DIY. Im interested
in the relationship between theatrical artifice and actual corporeality: how do we view
prosthetic and cosmetic devices used in B-Movie Horrors or corpse paint on the faces
of Metal bands? How can the superficial and the artificial affect our understanding of
events?

JACK OTWAY
University of Leeds, 2015
(Jan Matejko Academy of Fine Arts, Krakow 2014)
jackotway.wix.com/paintings
jackotwayart@gmail.com
Cut to the end scene of a Scooby Doo episode: the swamp monster is sitting in a
chair in the centre of a nondescript room with Shaggy, Scooby,Velma, Daphne, Fred
and various other town officials or native American chiefs or scientist etc standing
around. The monster is tied the ropes are visible despite the material texture of
the monsters skin it is dripping, moving: a viscous liquid in a constant path from the
monsters head to toe. The source of the liquid is indiscernible but it is continually
replenished.

Fred says something and reaches with both hands towards the swamp monsters head.
He grabs it and lifts up; his fingers disappear under the brown surface, his face contorts
from a smug smile into a terrified mask, the swamp monster gives an angry growl.
Freds hands disappear deeper into the swamp monsters head, up to the wrists now.
The swamp monster doesnt seem affected by this intrusion, but the swampy, gloopy
dripping of its outer layer has become more vital. Its restraining ropes are now also
submerged, the brown liquid is falling from the swamp monster on to the floor with a
sequence of plopping noises and making a sticky thick puddle around the chair. The gang
watch, horrified as the swamp monster rises, Fred pulls himself loose with a huge effort
and falls back, he is rolling and scrambling backwards through the viscous brown liquid.
Scooby jumps into Shaggys arms.

Using text, sculpture and video, my current body of work is drawn towards an
exploration of matter: when material is dubious of its function, it can become anything.

I am interested in the use of a wide range of materials, drawing together images

and objects from across disparate domains in order to create a world in which
connections and signs are held up and then refuted. The viewer is led to believe that
there is something to understand, half-baked narratives to be followed, before they are
encouraged to doubt themselves wholeheartedly.

KARANJIT PANESAR
UWE, Bristol - 2014
karanjitpanesar.co.uk
Im interested in our capacity for momentary encounters with the actuality of the world
primarily with visible surfaces of architecture, landscape and body. Moments in which
quotidian surfaces are seen as collisions in form and colour, reverberated into matter
that invite us to encounter the thingness of objects and the power of visually driven
connections.

These Surfaces are ripe to be peeled away and poured or smoothed into something
unexpectedly reflexive, like some essential recycling of the worlds materials. PLACES//
people//things, become pastel beached bungalows and terraces in Technicolor, walls drip
off and crumble into whites and pinks; SAND slips into grains of matter; and FLESH is
smoothed over bones as if painted on.

The work itself is an accumulation of rigorous research and playful experimentation

resulting in Excessive sculptural installations/objects and surfaces that offer a dialogue
between cultural reference, drawing, and spatial consideration, that explore all aspects of
materiality, shape, and surface both formally and critically.

My works collide disciplines and spaces, becoming something new, whilst maintaining a
materiality and capacity for flux that questions the very matter of the place of provenance,
the site of making, the gallery, and all their surfaces in mutual collision. I believe this allows
the work to keep itself rooted in the actuality of its matter, and maintain a sense of
potentiality for the viewer rather than offering a foregone conclusion. These renderings
are non-representational representations.

SARAH ROBERTS
Chelsea School of Art, 2014
sarahrobertsfineart.co.uk
sarah_roberts@me.com
My work engages with the gaps between designs and their manifestation as mass-pro-
duced objects, display structures and environments. Through mimicking these digitally
generated materials and generic forms, I point out the failings inherent in the design
process and bring them to a physical conclusion.

Typical modes of display and arrangement are broken down and remade, creating new
forms that disrupt the journey between intended use and material presence. My work
draws attention to the slippages in the translation between design and outcome, input
and output, and presents what happens in the shortfalls. My work is gestural and painter-
ly. Sometimes it remains as cold and abstract as the generically designed
imagery that was its starting point, other times the surface is agitated, making it beautiful,
unnerving or
intrusive. Often it is full of potential that is never realised, or that is turned on its head.
Objects are made with a sense of importance, but they often lean lazily across the floor
or against a wall, a feeble finality compared to their original intention.

The movement, arrangement, and constantly changing hierarchy of objects and materials
sustains the
momentum of my studio practice. Resolved artworks are the result of these materials
feeling like theyve reached some finality and contentment in their finished arrangement.

REBECCA SANGSTER
Camberwell College, UAL, 2014
rebeccasangster.com
rebeccasangster@hotmail.co.uk
The construction of identity is deeply influenced by our social environment. My work
engages with social spaces, psychological forces and its influence on the individual. Placing
the subject of the self into question I use this as an entry point into the social psychology
of human behaviour; looking at the role of power and the subtle ways it is used.

How much of our identity is beyond our control and driven by others occurs unconsciously
in our innate capacity to imitate and mirror those in our domain. We become who we
are partly through becoming like others. It cannot be resisted and lays deeply into our
biological and social development. We are designed outside of ourselves and I give this
form through the intersecting points of a circle. The basic geometric shape of a circle
focuses energy into a centripetal manner but also expands and emanates it. The circle is
a representational form of the self, giving an image to the psyche.

Built with fixed axis points, these lines continue to reflect and intersect into other circles.
Captured in their environment these bodies are composed to form multiple bonds and
links between others. It applies the mapping of space and appears to be engineered
through a somewhat mathematical design. Yet each circle is an abstract of the self which
cannot be predicted. It is something that starts from the outside and intrudes into our
social body.

NIKITA SHERGILL
University for the Creative Arts, 2014
nikitashergill.com
nikita.shergill@yahoo.com
Presently my creative endeavours stretching beyond the realm of education in the arts
were born out of the selection process of the Into the Wild residency at the Chisenhale
studios. My practice is primarily a physical research process in the figurative form under
limitations of time. The project #venusaday uses the parameters in place to remove any
precious notions of how she is meant to look. She simply is. As the process has gone on,
the figures and my own skills have invariably become technically better.

I hold the position of Technical Assistant for the 3D Large Department at Central Saint
Martins College of Art, a rewarding role that engages with students to realise their
material ambitions.It is this post and my experience of engaging with young people
through the Widening Participation department at the University that has consolidated
into my work with Tate Families and Early Years Learning programmes as visiting artist
over a two-month period. (April May 2016)

#venusaday started in October 2015.Carving the figure of a woman in a day, these

objects are based on the oldest found sculpture depicting the female form.Discovered
in 2008 in the upper Paleolithic Venus of Hohle Fels found in Schelklingen, Germany is
dated at around 45,000 years old and carved from a single piece of ivory. Thought to be
a symbol of fertility, the venus has been said to been made by a woman and worn on the
body or held.Returning to the original carving of the Venus of Hohle Fels as a source
from which to build on my ongoing research of making and form at its essence, I hope
to expand the investigation by focusing on the material the figure is made from and
where that material is found.Using basic carving tools (steel blade and sandpaper) the
#venusaday project has been realised in walnut, oak, beech, pine, mahogany, panga panga,
polystyrene and plastic. For more images and video documentation, keep updated on
the #venusaday project take a look at my instagram: yngntsch

NATASCHA YOUNG
Chelsea College Of Art, UAL, 2014
nataschayoung.com
natascha_young@hotmail.com
Dickie Webb is somewhat of a nomad alternating between hemispheres throughout his adult life.
This migration has created a sense of dislocation from society and place; this peripatetic lifestyle
feeds an art practice not bound by medium. Webb uses objects, materials and sites to create sound,
text, digital, sculptural and photographic works. Drawn to familiar objects, specifically those that
possess an ability to control or protect space, he explores their anthropomorphic characteristics
to reflect on current issues within the individual and collective. He uses various processes
that either alter or deconstruct a material introducing uncertainty and removing premeditated
control over a final outcome. Certain works are documented or installed outside, heterotopic
environments are chosen for their familiar yet imaginary backdrop. The uncertainty within these
transient spaces feed back into the various processes Webb employs within his studio work,
seeking to remove complete control of the material. Allowing the various nuances of a medium
to be displayed, broken glass or glitch sounds can be seen as working whilst still evidently being
broken their functionality is examined. The liminality of both the sites for installations and the
studio process works relate closely to Webbs transient life, one where continuous movement
creates a platform from where nothing is quite concrete, although possible.

Since graduating Webb has participated in artist residencies in SNEHTA - Greece,ACSL - Armenia
and most recently at the Edinburgh Sculpture Workshops, Scotland. He has exhibited work
internationally, recent exhibitions included; Early Warning - & Model Paradigm - Summerhall,
Edinburgh, PNEM Sound Art Festival, Netherlands, Beyond Tinted - Modern Art Museum
Yereven, Armenia and Things Are Different Now - Art Athina, Greece.

DICKIE WEBB
Edinburgh College of Art, 2013
dickiewebb.com
info@dickiewebb.com